Charles Lloyd - Figure in Blue

Label: Blue Note Records, 2025

Personnel - Charles Lloyd: tenor saxophone, flute, tarogato; Jason Moran: piano; Marvin Sewell: guitar.

Trailblazing saxophonist Charles Lloyd casts an enchanting Southern spell with his latest double album, Figure in Blue, another formidable triumph affirming his boundless creativity, ancestral roots, and deep spirituality. He leads a new trio with longtime collaborator Jason Moran on piano and guitarist Marvin Sewell as the unpredictable wild card. Together, they excavate authentic Delta blues from compelling harmonic designs while honoring Lloyd’s many influences.

Duke Ellington, an early inspiration, receives three dedications. Lloyd’s original “Figure in Blue, Memories of Duke” contrasts happy guitar strums and shimmering piano with reflective passages, all threaded by improvisations that ripple with tension and beauty. The trio also revisits Ellington’s “Heaven” and “Black Butterfly”, both previously featured on Lloyd’s The Water is Wide (ECM, 2000).

Other tributes include Billy Holiday on the haunting eulogy “The Ghost of Lady Day”, where Lloyd’s rich, dramatic tenor sound collides with the rhythm section’s sensitive interplay; tabla player Zakir Hussain on the transcendental Eastern-infused meditation “Hymn to the Mother, For Zakir”; and Leonard Bernstein via a poignant reading of West Side Story’s “Somewhere”. The ballad “Hina Hanta, the Way of Peace”, invokes Lloyd’s Choctaw ancestry with unmistakable touch and spiritual openness. Lloyd explores beautiful melodies, often linked by swiftly articulated arpeggios, over the gauzy accompaniment provided by Moran and Sewell, the latter showing a fantastic control of volume swells.

Delta blues surfaces throughout but anchors firmly on “Chulahoma”, rhythmically woven by distorted electric guitar and trilling piano, and on “Blues For Langston”, a dedication to poet Langston Hughes with Lloyd on flute. Sewell’s detailed guitar work stands out on both pieces. Old compositions are reframed such as “Song My Lady Sings”, a 3/4 ballad culled from his second album Of Course, Of Course (Columbia, 1965), and both “Desolation Sound” and “Ruminations”, which are given a mix of post-bop and avant-garde treatments in their long-form arrangements.

Figure in Blue captures the soulfulness of Lloyd’s writing, both new and revisited, while showcasing the trio’s superb dynamics—drawing listeners ever deeper into his timeless sound world.

Favorite Tracks:
02 (CD1) - Hina Hanta, the Way of Peace ► 03 (CD1) - Figure in Blue, Memories of Duke ► 01 (CD2) - The Ghost of Lady Day ► 04 (CD2) - Black Butterfly

Wolfgang Muthspiel - Tokyo

Label: ECM Records, 2025

Personnel - Wolfgang Muthspiel: acoustic and electric guitars; Scott Colley: double bass; Brian Blade: drums.

Austrian guitarist and composer Wolfgang Muthspiel returns with his finely tuned trio—bassist Scott Colley and drummer Brian Blade—for their third ECM studio album. Tokyo features eight Muthspiel originals alongside covers of Keith Jarrett and Paul Motian, both presented with a redefined aura.

These covers bookend the album. Jarrett’s “Lisbon Stomp”, culled from the pianist’s 1967 debut Life Between the Exit Signs, opens with shades of bop, American blues, and gospel. Recast with modern bluesy chops, colorful intervals, and harmonic reinvention, it soon finds a swinging direction. Motian’s “Abacus” closes the set, loosely painted as an agile rumination steeped in lyrical abstraction.

Both renditions are emotionally honest and musically inspired, yet the real treasures lie in Muthspiel’s writing. “Paradela” glows in the dark as a resplendent rubato meditation, folding jazz and classical elements into a clear song form. Similarly, “Flight”—a piece in seven that layers arpeggiated passages, quick-witted chordal sequences, and smoky electric guitar lines—displays the guitarist’s emotive reach and the trio’s remarkable synergy. Colley’s breathing cadences and Blade’s enveloping cymbals add luminous depth. 

The rhythm section provides both stability and suppleness, allowing Muthspiel to pursue an acoustic, chamber-like aesthetic free of unnecessary ornament. “Diminished and Augmented” feels like a complex, modern étude, its shifting passages and odd meter opening into improvisation, while “Weill You Wait”, a bittersweet waltz with ‘singing’ bass lines, reflects his admiration for Kurt Weill. Blade’s brushwork here radiates subtlety and refinement. 

Unexpected turns also surface: “Roll” fuses rock ’n’ roll with bluegrass, while “Strumming” is a propulsive pop/rock-tinged jaunt in six, marked by gritty arco bass, bluesy bends, and resolute drive. 
Tokyo finds Muthspiel, Colley, and Blade in top form—an elegant, deeply rewarding listen for the attentive and the casual ear alike.

Favorite Tracks:
02 - Paradela ► 06 - Diminished Augmented ► 08 - Strumming ► 09 - Weill You Wait

Nick Finzer - The Jazz Orchestra Vol. 1

Label: Outside in Music, 2025

Personnel - Saxophones: Michael Thomas (alto); Jordan Pettay (alto); Lucas Pino (tenor); Evan Harris (tenor); Tony Lustig (baritone); Trumpets: Augie Haas, Anthony Hervey, Nadje Noordhuis, Chloe Rowlands; Trombones: Nick Finzer, Rob Edwards, James Burton III, Sara Jacovino, Altin Sencalar;  Rhythm Section: Alex Wintz (guitar), Glenn Zaleski (piano), Dave Baron (bass), Jimmy Macbride (drums).

Nick Finzer is a creative trombonist and composer with refined taste and sinuous melodic instincts. Captured in a single-day session, The Jazz Orchestra Vol. 1 breathes new life into four of his most emblematic, previously recorded compositions alongside fresh reinventions of two J.J. Johnson classics. Inspired by the late trombonist and the big band legacies of Duke Ellington, Finzer assembled an 18-piece ensemble that includes his working sextet—the full rhythm section plus tenorist Lucas Pino. The album pays sincere tribute to the rich history of the jazz orchestra. 

Bursting with ardent hardbop devotion, Johnson’s “Say When” thrives on Finzer’s powerful declamation, his trombone lines cutting with melodic instinct and authority. Playful horn staccatos punch through neatly arranged hooks, while a buoyant swing underpins Jordan Pettay’s spirited alto solo. Johnson first recorded this piece with his big band in 1966.

Also by Johnson, “Lament” unfolds as a lyrical, expansive ballad of epic dimension that recalls Gil Evans’ orchestral maneuvers, one of Finzer’s touchstones. Those spectacular Evans-like timbres reappear in “The Guru”, originally heard on Cast of Characters (2020). With its rhythmic and harmonic brilliance, the piece weaves a mysterious mood through probing collisions and lush tapestries, highlighted by solos from trumpeter Anthony Hervey and Finzer himself. The colorful harmonic tapestries are offered by guitarist Alex Wintz and pianist Glenn Zaleski, respectively.

Another highlight is “We The People”, the dynamic opener from Hear & Now (2017), here reimagined by Jack Courtwright, Finzer’s notable graduate student at the University of North Texas. Freedom and collective consciousness permeate the music, magnified by inventive solos from trumpeter Chloe Rowlands, Pino, Wintz, and drummer Jimmy Macbride. That conversational fluidity of the improvisers continues on the closer, “Just Passed the Horizon”, where Wintz leads into Tony Lustig’s exuberant baritone statement and an invigorating collective jam that bursts with tonal color.  

The Jazz Orchestra Vol. 1 is a beautifully crafted album that brings Finzer’s A-game to the big band format. His dedication yields fresh surprises at every turn, and we never get tired of this unflagging ‘in the pocket’ drive, always carried out with a modern sensibility.

Favorite Tracks: 
01 - Say When ► 02 - The Guru ► 04 - We The People

Carmen Staaf - Sounding Line

Label: Sunnyside Records, 2025

Personnel - Carmen Staaf: piano; Ambrose Akinmusire: trumpet; Ben Goldberg: clarinets; Darren Johnston: trumpet; Dillon Vado: vibraphone; John Santos: percussion; Hamir Atwal: drums.

In her latest album, Sounding Line, pianist and composer Carmen Staaf probes different lineups and approaches, reimagining the music of pianists Mary Lou Williams and Thelonious Monk as intimate ‘conversations’. Inspired by their friendship and shared musical sensibilities, Staaf revisits two Monk pieces and three Williams gems—respectful but never slavish—while adding two of her own.

Duets with the incomparable trumpeter Ambrose Akinmusire bookend the album. Williams’ “Scorpio” is stripped down to a six-beat piano bass figure over which Akinmusire unfurls his rich lyricism and unmistakable tone before the duo slides seamlessly into a 4/4 blues. The closer, Staaf’s “The Water Wheel” conjures magic. There’s nowhere to hide in a piano/trumpet duet and yet their introspective, dreamlike aura feels so natural and captivating—a rare convergence of aural bliss. Akinmusire devastates with his lyrical intensity before the texture swells toward an emotional climax.

A delightful lightness pervades Williams’s “Libra”, whose mix of poignancy and radiance is reinforced by clarinetist Ben Goldberg. The thoughtful piano comping and well-coordinated passages help rising the emotional levels. Goldberg is even more prominent on “Koolbonga”, an exotic Williams blues where he makes the bass clarinet groove with an agitated simmer. Presented in a quintet format, it brings trumpeter Darren Johnston and vibist Dillon Vado—here on tambourine—into tight coordination with Staaf and drummer Hamir Atwal.

The Monk selections are equally inspired. “Bye-Ya” features percussionist John Santos in a groovy dance designed with a peculiar lilt, harmonic sophistication, and quirky intervallic melodicism. “Monk’s Mood”, atmospherically rendered in rubato mode, has its theme built with Vado’s airy vibes.

Staaf’s “Boiling Point”, inspired by Monk’s “Shuffle Boil”, toys with tempo shifts, featuring solos from Johnston, who employs slick jazzy lines, and Staaf, who ventures fearlessly across Goldberg’s clarinet foundation and Atwal’s flickering brushwork.

Favorite Tracks:
01 - Scorpio ► 03 - Libra ► 07 - The Water Wheel

Nadav Remez - Summit

Label: Outside In Music, 2025

Personnel - Nadav Remez: guitar; Gregory Tardy: tenor saxophone, clarinet; Guy Moskovich: piano; Ben Tiberio: bass; David Sirkis: drums.

It’s not uncommon for a musician’s most personal to also become an artistic triumph, driven sincerity, effort, and honesty. That’s the case with Israeli guitarist and composer Nada Remez, whose sophomore album, Summit, places him in the company of American saxophonist Greg Tardy, pianist Guy Moskovich, bassist Ben Tiberio, and drummer David Sirkis. The program features eight Remez originals, written over the pat two decades, alongside three covers.

With a clean tone and resolute attack, Remez opens with “The Awakening”, a mature, layered piece that causes frisson at every turn. A solo piano prelude yields to a bass melody, the drums fortify the atmosphere, and the saxophone guides sumptuous melodic paths with the aid of the guitar. It’s as if John Abercrombie’s magic guitarism met a modal slice of Jewish folk, briefly disrupted by contemporary effects.

The quintet reimagines Yedidia Admon’s “Shedemati”, a century-old agricultural song, with sharp focus and modal enchantment. Entrancing bass lines launch solos from Remez, who colors under a swinging backdrop; Tardy, whose phrases weave in and out without losing narrative articulation; and Moskovich, who, catching Tardy’s solo tail, develops from there his own ideas.

Marked by epic expansiveness and exploratory drive, “Hephaestus” unfolds as an odd-metered contemporary klezmer before Tardy’s blazing solo. On Noam Sheriff’s “Hinach Yaffa Raayati”, harmony and rhythm are laid down with a modern feel, with the luminous main melody fronting a well-developed theme. The group shows cohesiveness, riding sequences of 16-beat cycles with joy and purpose. 

Remez’s compositions demand both skill and sensitivity, qualities the group embodies fully on “Beyond!”, with its asymmetric form and the bandleader’s hypnotic, patiently built solo. Remez trades ideas with Tardy on the title track, while the saxophonist also shines on the closer, “Adon Olam”, a traditional Jewish prayer lifted into spiritual resonance. 

Authentic and deeply personal, Remez’s style radiates integrity. Summit not only showcases his voice but also the remarkable chemistry and talent of his quintet.

Favorite Tracks:
01 - The Awakening ► 02 - Shedemati ► 04 - Hephaestrus ► 09 - Beyond!

Johnathan Blake - My Life Matters

Label: Blue Note Records, 2025

Personnel - Dayna Stephens: tenor and soprano saxophone, EWI; Jalen Baker: vibraphone; Fabian Almazan: piano, electronics; Dezron Douglas: upright and electric bass; DJ Jahi Sundane: turntables (#1,9); Bilal: vocals (#4,14); Johna Blake: additional electric bass (#13); Muna Blake: spoken word (#6); Johnathan Blake: drums, cymbals.

In his third album for Blue Note Records, drummer/composer Johnathan Blake—long regarded as a rhythm architect and prominent figure in the scene—delivers an adventurous and deeply personal musical statement that addresses racial injustice. Leading a core quintet with saxophonist Dayna Stephens, vibraphonist Jalen Baker, pianist Fabian Almazan, and bassist Dezron Douglas, Blake presents a 14-track suite comprising six expansive compositions and eight interludes that serve as canvases for solo or duo explorations.

“Broken Drum Circle For the Forsaken” opens with DJ Jahi Sundance’s turntables and samples entwined with Blake’s vivid, wide-ranging drumming, which also commands the solo piece “Can You Hear Me?”, a clattering, booming outcry of skins and cymbals.

“Last Breath”—a tribute to Eric Garner, murdered by chokehold—moves in 5/4, beautifully delineated by Baker’s vibes for an airy, intimate feel. There’s a high-flying solo by Stephens on EWI, followed by a 4/4 swinging motion that accommodates Baker’s solo, before returning to its original current for Almazan’s persuasive discourse. Longer works such as “My Life Matters” and “Can Tomorrow Be Brighter” highlight Blake’s sharp compositional intellect alongside the quintet’s formidable execution. The former—a warhorse professed with affirmation, energy, and plenty of groovy fantasy—is lifted by Stephens and Baker’s soulfully improvised exchanges as well as Almazan’s versatile pianism within a subtly Latinized passage rich in harmonic counterpoint; the latter piece, delivered in five and propelled by an urgent bass groove and excellent percussion work, climaxes with Stephens, who leaves orbit with a delightful tenor statement.

Almazan introduces the ballad “Requiem For Dreams Shattered” with a solo piano oratorio and electronics, later opting for a string of catchy riffs in his testimony. Guest vocalist Bilal deepens the impact, while Stephens adds an emotionally charged soprano saxophone solo.

The interlude “I Still Have a Dream” pairs Douglas’ bass pizzicato with Muna Blake’s spoken word—the poem is by her mother, Rio Sakairi. “That Which Kills Us Makes Us What?” is a haunting EWI eulogy that makes an impression. In turn, “We’ll Never Know” is a fulfilling waltz rooted in soul and gospel, channeling echoes of Ray Charles and Billy Joel while keeping hope alive.

Favorite Tracks:
02 - Last Breath ► 07 - My Life Matters ► 11 - Can Tomorrow Be Brighter

Ariel Bart - After Silence

Label: Self released, 2025

Personnel - Ariel Bart: harmonica; Talia Erdal: cello; Arseny Rykov: piano.

After two albums under her belt, Berlin-based harmonica player Ariel Bart debuts an unusual bass-less, drum-less trio—active for the past three years—with cellist Talia Erdal and pianist Arseny Rykov, narrating heartfelt stories with uncanny musical empathy. In After Silence, she invites us to explore what lies beneath the surface, urging attention to detail and to what’s often hidden.

The title track, “After Silence”, sets the tone as a melancholy opening statement. “Wind From the North” leans on tastefully supportive piano anchored in a relentless odd-metered pulse, with Bart’s solo radiating emotional resonance at every turn. The whole piece carries a mesmerizing poignancy.

Cello and harmonica share parts of the melody on the captivating “Oath”, whose relaxing sonorities flow seamlessly into “Behind Windows”. The latter offers a fine piano solo and mellifluous cello-harmonica unisons. Lyricism abounds here, tinged with gentle romanticism and spiritual significance.

Erdal’s cello cries adorn “Seeds of Change”, in another profound reflection. And by listening to Bart’s solo on “One Warrior”, one can attest she’s a worthy voice in the chromatic harmonica lineage of Toots Thielemans and Gregoire Maret. She plays with striking fluency, supported by Rykov’s elegant comping. “Don’t Forget Us When the War is Over” follows as a plaintive chamber piece delivered with poise and command. 

The Ariel Bart Trio crafts a unified sound and mood that extends across the album with intimacy and coherence. Meditative in nature yet rich in feeling, the music resonates with sheer emotion.

Favorite Tracks:
02 - Wind From the North ► 03 - Oath ► 05 - One Warrior

Dan Rosenboom - Coordinates

Label: Orenda Records, 2025

Personnel - Dan Rosenboom: trumpet, piccolo, flugelhorn; Jake Vossler: guitar; Jerry Watts Jr.: electric bass; Caleb Dolister: drums; Katisse Buckingham: flutes (# 5); Gavin Templeton: alto and baritone saxophone (#2,6,7); Nicole McCabe: alto saxophone (#3); Brian Walsh: contralto clarinet (#3,8); Jon Stehney: bassoon (#4, 8); Laura Brenes: horn (#5,9) Katie Faraudo: horn (#5,9) Ryan Dragon: trombone (#3,5,9) Steve Suminski: trombone (#5,9) Steve Trapani: bass trombone (#5,9) Doug Tornquist: tuba (#5,9); Wade Culbreath: vibraphone, marimba (#3,5,7,9); Gloria Cheng: piano; Jeff Babko: Fender Rhodes (#2); Joshua White: piano (#7); Petri Korpela: percussion; Jacquline Kerrod: harp (#4); Lauren Elizabeth Baba: viola (#6); Miguel Atwood-Ferguson: 5-string electric violin (#7); Michael Valerio: contrabass (#4) + The Lyris Quartet; strings (#4,9).

Following the quintet album Polarity, a contemporary masterpiece released in 2023, Coordinates marks another remarkable outing from trumpeter and composer Dan Rosenboom whose commitment to breaking boundaries in jazz expands here through a powerful and cohesive aggregation of 28 players drawn from the LA jazz scene and Hollywood film recording studios. Taking four years to write and produce, the album—shaped by numerology—ventures across multiple genres and meter signatures. 

Over the course of “Coordinate 1: Many Worlds, Many Dances”, the ensemble dives into funk territory, allowing an enthralling groove to unfold orgamnically. Horn consonance gives way to a trumpet solo that feels both conversational and expansive, framed by coordinated passages and buoyed by incisive drumming. “Coordinate 2: Apophis” opens with Brian Walsh’s resonant contralto clarinet and Jake Vossler’s protean guitar, building toward rhythmic agitation against a defiant metal backdrop that shifts with each soloist.

“Coordinate 3: Syzygy” highlights Katisse Buckingham’s flute in the foreground. It’s a rock-driven piece delivered with muscular punch, epic scope, and fierce resolve. Rosenboom responds with an obliquely thoughtful solo over a dense, hard-bitten texture. The band’s carefully coded sound turns darker on “Coordinate 5: Hyperion”, a moody chamber spell whose structural dynamism is etched with strings courtesy of The Lyris Quartet.

Alongside the five ‘coordinate’ works, four additional compositions broaden the palette. Standouts include “Josephine’s Dream”, a delicate waltz featuring gracefully arpeggiated harp and strings, and “Oracles”, a funk-rock excursion powered by pianist Joshua White’s outside playing over an odd-metered prog-rock foundation.

Rosenboom’s return brims with fresh-start urgency, charting a course through environments alive with rhythmic jabs and stabs. Through open platforms—sharply informed by funk, rock, jazz, and metal—he unveils a host of new tricks up his sleeve. 

Favorite Tracks:
02 - Coordinate 1: Many Worlds, Many Dances ► 03 - Coordinate 2: Apophis ► 07 - Oracles

David Murray Quartet - Birdly Serenade

Label: Impulse! Records, 2025

Personnel - David Murray: tenor saxophone; Marta Sanchez: piano; Luke Stewart: bass; Russell Carter: drums; Ekep Nkwelle: vocals (#1,3); Francesca Cinelli: spoken word (#8).

The quartet of iconic saxophonist David Murray returns with Birdly Serenade, an eight-track album inspired by birds—the original improvisers—and their songs. Part of producer Randall Poster’s ongoing Birdsong Project, the record marks Murray’s debut on Impulse! Records and was captured at the legendary Van Gelder Studio.

The album opens with the enthrallingly vivid title track, “Birdly Serenade”, featuring Cameroonian-American vocalist Ekep Nkwelle, singing lyrics adapted from a poem by Murray’s wife and manager, Francesca Cinelli. Driven by a lilting waltz pulse, the piece radiates spiritual power, with solos from Murray on tenor saxophone and Spanish pianist Marta Sánchez. Nkwelle also graces “Song of the World”, an exquisite Latin-tinged ballad, melodically driven by bass clarinet and featuring an engrossing bass solo from Luke Stewart. The piece was written for Mixashawn Rozie, an Indigenous musician and activist.

Composed in the studio during the recording session, “Black Bird’s Gonna Lite Up the Night” bursts with fierce avant-garde energy, amplified by spiraling piano figures, a mix of bowed and pizzicato bass textures, and thunderous tom-tom resonance from drummer Russell Carter. The music builds into a vortex of sound before Stewart grounds it with steady bass steps. “Capristano Swallow”, which evokes memories of Murray’s youth of the Springtime Swarm at the Mission San Juan Capristano in California, is another avant-garde foray, reinforcing Murray’s outside playing proclivities and including a spellbinding solo piano interlude before the quartet returns with wind-like force.

“Bald Ego” channels Charlie Parker through blues and bop grandeur, featuring bar trades between the quartet and the drummer, while “Nonna’s Last Flight”, with Murray revealing borderline chromatic mechanisms on bass clarinet, is delivered with a hip posture that drowns itself in groovy funk and hip-hop vibes. Sanchez supplies rich harmonic layers beneath her elegantly intricate phrasing. The album closes with “Oiseau de Paradis”, a cascade of playful ideas paired with a French poem written and recited by Cinelli.

Murray is more interested in playing his own songs at this phase of his career, and this project, structurally disciplined but wide open to improvisation, allowed him to do just that.

Favorite Tracks:
01 - Birdly Serenade ► 04 - Black Bird’s Gonna Lite Up the Night ► 05 - Nonna’s Last Flight

Plainspeak - Someone to Someone

Label: Irabbagast Records, 2025

Personnel - Jon Irabagon: alto saxophone; Russ Johnson: trumpet; Clark Sommers: acoustic bass; Dana Hall: drums.

A love letter to Chicago, Someone to Someone marks the debut of PlainsPeak, a finely tuned acoustic quartet led by saxophonist and composer Jon Irabagon. The album features six Irabagon originals, brought to life by seasoned artists deeply connected to Chicago and fully in command of their authentic selves: trumpeter Russ Johnson—reuniting with Irabagon 17 years after appearing on his debut Outright!—bassist Clark Sommers, and drummer Dana Hall. The project was conceived after Irabagon relocated to his hometown of Chicago, where he was born and raised, following nearly two decades in New York.

The title track, a love song dedicated to Irabagon’s family, opens the album in balladic, rubato mode with bowed bass as main support. Sommers holds the spotlight for thirty seconds before horns and drums join him. Then, it’s Hall who forges a dynamic, swampy corridor over which Johnson and Irabagon roam freely. 

The frontline, whether threading chain-linked ideas or conjuring fervid, polyphonic near-cacophonies that delight the ear, radiates contagious energy. Both “Buggin’ the Bug”, an old blues march revitalized with swinging motion and emphatic melodic punctuation, and the awesomely coordinated “Malört is My Shepherd” showcase this spirit. The latter, referencing the traditional wormwood-based digestif with deep roots in Chicago, is elevated by Irabagon’s alto saxophone stretch, where he skillfully explores multiple sonorities of the instrument. 

Cooked hot with shifting meters, the thought-provoking “At What Price Garlic” rides on magnetic grooves from the tightly interlocked bass and drums. Melodic crescendos and stirring solos strike a fine balance between tension and release. “Tiny Miracles” turns inward, carrying elliptical intensity, while “The Pulseman”, a snappy tribute to Hall and Chicago drummers, brings the album to a climactic close through playful staccatos and agile runs.

Irabagon is one of those amazing musicians and gifted composers with a broad interest in styles and sounds. Whether leading an A.I.-inspired nonet (Server Farm, 2025), engaging in exploratory duets (Blue Hour, 2024), or celebrating the vibrancy and lyricism of Chicago jazz—as he does here—he never fails to captivate.

Favorite Tracks:
01 - Someone to Someone ► 02 - Buggin’ the Bug ► 04 - At What Price Garlic

Alexa Tarantino - The Roar and the Whisper

Label: Blue Engine Records, 2025

Personnel - Alexa Tarantino: alto and soprano saxophones, flute; Steven Feifke: piano; Philip Norris: bass; Mark Whitfield Jr.: drums; + Guests -  Cécile McLorin Salvant: vocals (#6,9); Keita Ogawa: percussion (#9).

Released on the Jazz at Lincoln Center’s label, Blue Engine Records, The Roar and the Whisper marks the fifth studio album by award-winning saxophonist and composer Alexa Tarantino. A member of the prestigious Jazz at Lincoln Center Orchestra and the all-female quintet Artemis, Tarantino forms a pliant quartet with pianist Steven Feifke, bassist Philip Norris, and drummer Mark Whitfield Jr, inviting guest vocalist Cécile McLorin Salvant to join them in two pieces, the last of which also features percussionist Keita Ogawa. 

This is a work of contagious post-bop irradiation that begins with “Inside Looking Out”, a mutable, dynamic piece showcasing strong interaction between Tarantino and Feifke—an encouraging accompanist who is very much in sync with the saxophonist’s moves—and a swinging rhythmic core propelled by Norris’ rolling bass lines. Smokin’ and soulful modal Coltranean inflections run deep here, particularly during Tarantino’s soprano solo. The title track, “The Roar and the Whisper”, balances stealth and restraint before erupting into bursts of energetic fire.

While Wayne Shorter’s “This is For Albert” is rendered with balletic agility, “Provoking Luck” carries a blissful hard-bop swagger in the vein of Art Blakey, Clifford Brown, or Lou Donaldson, with rhythm changes that sparkle flawlessly. On the latter, Tarantino plays alto, but she’s equally soulful on soprano sax and flute, showing off her formidable chops on the graceful waltz “Portraits of a Shadow” and “Luminance”, respectively. The latter comes wrapped in a gentle Brazilian bossa feel.

McLorin Salvant brings her vocal charisma to her own composition “Moon Song”, a ballad grand by flute airiness, and to Billy Strayhorn’s “Tigress”, a Latin-tinged cocktail, where she sings wordlessly to evoke an exotic soundscape, garnished by Ogawa’s percussive textures and Tarantino’s lithesome soprano.

Narrated with a feisty temperament, “Back in Action” features the alto sax front and center, radiating an infectious energy and swinging verve. The track includes exchanges with the drummer, who punctuates with a series of playful swells. On The Roar and the Whisper, Tarantino and her ensemble bring undeniable quality to both originals and covers.

Favorite Tracks:
01 - Inside Looking Out ► 04 - Portraits of a Shadow ► 06 - Moon Song

Fred Hersch - The Surrounding Green

Label: ECM Records, 2025

Personnel - Fred Hersch: piano; Drew Gress: bass; Joey Baron: drums.

Following an excellent solo album—Silent, Listening (ECM, 2024)—pianist and composer Fred Hersch reunites with longtime friends and collaborators, bassist Drew Grass and drummer Joey Baron, for a fine trio session. They perform three Hersch originals, one jazz standard, and three spectacular, distinct covers of tunes by free jazz saxophonist Ornette Coleman, Brazilian guitarist Egberto Gismonti, and influential bassist Charlie Haden.

Hersch’s “Plainsong”, a piece previously recorded on the solo piano album Open Book (Palmetto, 2017) opens the proceedings with dreamy romanticism and vast erudition. “The Surrounding Green” is another of his meditations, radiating light through every note and grounded by the aesthetics of Baron’s classy brushwork.

The trio leans on joyous melodic gestures on “First Song”, a gem by the late Charlie Haden, with whom Hersch played on Sarabande (Sunnyside, 1987), a recording that also features Baron behind the drum kit. Gress launches this charming ballad with a fine bass intro, creating a welcoming space. Gismonti’s early ‘80s composition “Palhaço” is a 3/4 joy that showcases the trio’s emotional synchronicity and deep musical rapport built through years of collaboration. This is a lovely melodic number with wide possibilities to expand.

Yet, not quite as expansive as Ornette Coleman’s “Law Years”, whose freer gestures use ambiguity as a tool, along with a few well-placed crescendos that create a tense elasticity. After Gershwin’s well-known standard “Embraceable You”, here rendered at an unexpectedly dynamic tempo, the trio closes with Hersch’s “Anticipation”, a lyrical yet motion-filled piece delivered with a sophisticated jazz-meets-bossa flair.

Hersch, who has also played for years with a different trio—featuring John Hébert and Eric McPherson—discovers fresh nuances in this configuration, in a record where the standout moments come through the lesser-known covers.

Favorite Tracks:
02 - Law Years ► 04 - Palhaço ► 06 - First Song

Alchemy Sound Project - Under the Surface

Label: Artists Recording Collective, 2025

Personnel - Sumi Tonooka: piano; Gregg August; bass; Johnathan Blake: drums; Erica Lindsay: tenor saxophone; Salim Washington: tenor saxophone, bass clarinet, flute; Samantha Boshnack: trumpet; Michael Ventoso: trombone.

Alchemy Sound Project invites bassist Gregg August and drummer Johnathan Blake to join them in their third album, Under the Surface, which comprises seven formidable compositions by Philadelphian pianist Sumi Tonooka, an adept of both angularity and lyrical melodicism. 

Inspired by the roots of trees and how they function as interconnected underground systems, the album begins with a texturally open-minded piano trio number, “Points of Departure”, showcasing a drum solo at the outset before a great riffing groove forged by the pianist—alongside funkified bass lines—come to prominence. Tonooka’s harmonic voicings and cascading phrasings feel remarkably fresh, her musicality resonating in her fierce, compelling delivery. “Savour”, a meditation on mindfulness, features trombonist Michael Ventoso, who nods to Bubber Miley and Ellingtonian tradition with his muted wah-wah technique. The arrangement holds some surprising twists. Tonooka’s piano work is imaginative, and tenorist Erica Lindsay’s improvisation, rich with melodic inspiration, is fantastically supported by Blake’s vibrant drumming.

Bookended by excellent bowed bass, “Interval Haiku” is fed by a collateral riff that leads to Samantha Boshnack’s trumpet solo over an intense bass-and-drums flux and sparse piano comping. Multi-reedist Salim Washington delivers a bright tenor solo, gliding atop a slightly Latinized rhythmic tapestry. He also takes center stage at one point on the title track, “Under the Surface”, which closes the album with a mantra-like piano figure and horns soaring above it with expressive freedom.

One can’t deny there’s something special in Tonooka’s compositions. The contrast between “Mother Tongue” and “For Stanley” confirms her versatility. The former, full of sophistication and set in a bright septuple meter, features flute, sax, and trumpet in melodic consonance, as well as striking counterpoint; the latter, written for Tonooka’s mentor—the brilliant pianist Stanley Cowell— leans toward a more traditional jazz sculpting, delivered in trio format with rhythmic nuance, intimacy, and control.

There’s nothing pretentious about the way these musicians play. What comes to the fore is their ability to remain loose for a while and then return to form in a natural, effortless way.

Favorite Tracks:
01 - Points of Departure ► 02 - Savour ► 05 - Mother Tongue

Jaleel Shaw - Painter of the Invisible

Label: Changu Records, 2025

Personnel - Jaleel Shaw: alto saxophone; Lawrence Fields: piano; Ben Street : bass; Joe Dyson: drums + Lage Lund: guitar (#4,10); Sasha Berliner: vibraphone (#6,11).

American altoist Jaleel Shaw releases his first album in 13 years. Throughout the 11 original tracks of Painter of the Invisible, he showcases not only powerful soloing instincts but also a gift for modern jazz composition that carries the rich aroma of tradition. Shaw, who rose to prominence as a bandleader while working with the late drummer Roy Haynes in his Fountain of Youth Band, reunites with pianist Lawrence Fields—featured on Soundtrack of Things to Come (2013)—and Norwegian guitarist Lage Lund, a strong presence on his first two albums, Perspective (2005) and Optimism (2008). Lund was a last-minute addition, as was vibraphonist Sasha Berliner. The core rhythm section features the seasoned bassist Ben Street and rising-star drummer Joe Dyson.

“Contemplation” is a high-energy, modal post-bop piece infused with Coltrane-inspired flavors, while “Beantown” blends elements of funk and R&B within a modern jazz framework—joy and positive energy radiate from its melodic statement, firmly anchored by Street’s gripping 14-beat cycle bass groove and Dyson’s incompressible snare/hi-hat-driven flow. The group jumps off from there.

Both “Distant Images” and “Gina’s Ascent” were written for Shaw’s late family members. The former, dedicated to his grandmother, is a rhythmically challenging piece whose rubato intro features Lund’s effulgent guitar playing and clear tone, while the latter, penned for his cousin, features Berliner’s dreamy vibes, whose figure in seven is mirrored by the bass.

Every piece has the post-bop thread running through it, yet “Tamir”, dedicated to murdered 12-year-old boy Tamir Rice, introduces Middle Eastern and African inflections in a 6/4 modal journey. Shaw’s eloquent, burnished saxophone channels spiritual consciousness, soaring again on “Invisible Man”, a tour-de-force in seven that reflects his experience as a Black man. Lund’s solo here is a marvel, enhancing a piece inspired by Ralph Ellison’s novel. The album concludes with the awe-inspiring melody of “Until We Meet Again”, a tribute to the late saxophonist, keyboardist, and vocoderist Casey Benjamin—co-founder of the Robert Glasper Experiment—where Berliner’s vibraphone brings warmth and tenderness.

Shaw retains his much-appreciated musical identity while exploring new directions. Painter of the Invisible is where melody, harmony, and rhythm come alive with pure intention. A great album to enjoy without reservations.

Favorite Tracks:
03 - Beantown ► 04 - Distant Images ► 07 - Tamir ► 10 - Invisible Man

Emiliano D'Auria - The Baggage Room

Label: Via Venetto Jazz, 2024

Personnel - Dayna Stephens: tenor saxophone; Philip Dizack: trumpet; Emiliano D’Auria: piano; Rick Rosato: acoustic bass; Kweku Sumbry: drums.

For his Brooklyn-recorded album, The Baggage Room, Italian pianist and composer Emiliano D’Auria assembles a formidable quintet rounded out by American musicians. The album features a dynamic frontline composed of first-caliber improvisers—saxophonist Dayna Stephens and trumpeter Philip Dizack—while bassist Rick Rosato and drummer Kweku Sumbry join the bandleader to form a cohesive rhythm section. Consisting of nine gorgeous D’Auria compositions, the album pays tribute to the Italian and European migrants who left their homelands in the late 19th and early 20th centuries in search of a better future in America. 

The narrative opens with impact, as the first two tracks make an immediate impression. The title track, “The Baggage Room”, showcases rhythmic accents reminiscent of electronic music, underpinned by a snare-driven marching impetus and ecstatic horn lines that carve out compelling melodies. After an introspective passage where Stephens and Dizack alternate solos, the two horn players juxtapose their voices in a vibrant dance athletically underpinned by the rhythm team. “1891: Ellis Island”, introduced by Sumbry’s assertive drumming and marked by a strong piano-bass alignment, evolves with a danceable rock-tinged progression that serves as a springboard for Dizack’s expressive brilliance. Stephens follows with a more meditative solo, supported by D’Auria’s sparse harmonic textures.

“Temporarily Detained” emulates the tension and uncertainty faced by detainees at Ellis Island through taut, incisive melodic lines. A descending trumpet motif evokes “The Peacocks”, before the piece bursts into a frenzied swing, concluding on a 12-beat vamp. “Searching For the New World” conjures an Enrico-Rava -meets-Mike-Turner landscape, while “The Story of Sacco and Vanzetti”—inspired by the two anarchist laborers controversially convicted and executed in 1927 Massachusetts—cracks into classic hard-bop with a moody swing, channeling the vibes of Lee Morgan, Art Blakey, and Kenny Dorham. The horns are stellar here, improvising fluidly over an articulated mesh of piano, bass, and drums.

While “The Long Wait” is largely a piano trio ballad, the horns catch up in the final section for a touching resolution. then “Third Class” begins with a sustained bass pedal, a fine ride cymbal pulse, and unison folk-tinged melodies before shifting moods via reverb-soaked transitions that sweep across the stereo field.

D’Auria’s American adventure has culminated in a strong album, crafted by a simpatico unit energized by the commanding presence of its frontline.

Favorite Tracks:
01 - The Baggage Room ► 02 - 1891: Ellis Island ► 03 - Temporarily Detained

David Bixler Trio Incognito - Incognito Ergo Sum

Label: Self released, 2025

Personnel - David Bixler: alto and soprano saxophones; Dan Loomis: bass; Fabio Rojas: drums.

American saxophonist David Bixler has been living in New York for 30 years, where he cut his teeth touring with vibist Lionel Hampton, pianist Toshiko Akiyoshi, and acclaimed Cuban composer Chico O’Farrill. His latest album, Incognito Ergo Sum, blends meticulously crafted composition with improvisation in a boundary-crossing, free-wheeling set of originals, plus a take on Jerome Kern’s “Nobody Else But Me”. His cohesive Trio Incognito features a creative rhythm section of sought-after musicians and bandleaders: Brooklyn-based Dan Loomis on bass and Venezuelan Fabio Rojas on drums. The album follows the trio’s debut Inside The Grief (Bixxlixx, 2020).

“6.29.21” opens with a 16-beat cycle saxophone riff delivered with aplomb and crisp precision, revisited several times along the way. Loomis and Rojas sustain a great rhythmic drive, while Bixler expresses casual thoughtfulness without resorting to unnecessary fireworks. The bass solo blends articulation with natural melodicism, and the drummer’s expansion generates a controlled storm. “Recycled” features expedite changes of pace, shifting the tempo into higher gear, while “You Are Ma King” revolves around a clear-cut thematic idea, etched with a sinuous edge, and culminating in a fine drum solo. 

“What’s At Hand” showcases the balladic side of the trio—with a soft saxophone glow, conscious bass breathing, and brushed skins—before swinging eloquently in the wake of Loomis’ improvised dissertation, steadily gaining momentum with its firm, bouncy step. The trio crafts a fluid storytelling approach on “Old Dog New Bix”, feeding off the tune’s melodic candor.

“Liminal Space” and “Johnny Cope” stand out among the album’s best-written pieces. Both refine the trio’s sound and push it forward by integrating elements of Venezuelan folk tradition and Eastern nuance. The former features Bixler on soprano, floating over a silky Latin tapestry, while the latter relies on clear, warm cymbal work, soprano sax chants, and bass pliability to create an Eastern-infused dance, with elastic stretches from Bixler and Loomis over Rojas’ dynamic drum responses.

True to form, these tunes—anchored by well-defined riffing themes and ample room for solo expansions—showcase the majesty of Bixler’s compositions and the musical prowess of his trio.

Favorite Tracks:
01 - 6.29.21 ► 03 - Liminal Space ► 11 - Johnny Cope

Sean Imboden Large Ensemble - Communal Heart

Label: Self released, 2025

Personnel - Sean Imboden: tenor and soprano saxophone, composition, direction // Woodwinds: Matt Pivec (alto, soprano, flute); LaMont Webb (alto, flute); Mark O'Connor (tenor, soprano); Cecily Terhune (tenor); Evan Drybread (baritone, bass clarinet) // Brass:  Clark Hunt, John Raymond, Scott Belk, Kent Hickey (trumpet, flugelhorn); Tucker Woerner, Andrew Danforth, Chaz Rhodes (trombone) // Rhythm Section: Chris Pitts (piano); Joel Tucker (guitar); Rich Dole, Nick Tucker (bass); Cassius Goens (drums). 

Indianapolis-based saxophonist, composer, and bandleader Sean Imboden returns to creative music after years playing in Broadway shows and touring. His 18-piece large ensemble, assembled in 2017, demonstrates remarkable cohesion in five original tracks brimming with bold ideas.

Communal Heart, whose title pays homage to the band itself and its origins, opens with the swirling, kaleidoscopic “Fire Spirit”, whose sense of urgency and striking energy is palpable in its straight eight feel. The dynamics shift throughout, veering into soaringly atmospheric passages before becoming richly cinematic. The solos feature trumpeter John Raymond, followed by Imboden on tenor, who declaims graciously over layers of woodwinds and brass, supported by a funky guitar strut as rhythmic foundation.

“Dance Inquiry” is a breezy folk dance in five, spotlighting Imboden’s woody soprano sound alongside trombonist Andrew Danforth, while “Someone to Watch Over Us”, featuring Matt Pivec on alto saxophone, offers a hopeful response to the tumultuous political times we live in today, with finely layered sounds.

The challenges of following a creative musical path are numerous, but so are the rewards. Two pieces where that sensation is evident are “Certified Organic”, which, adhering to the fusion’s genre mentality and boosted by guitarist Joel Tucker’s fantastic sound and articulation, feels like a boost of vitamins; and “Portal Passage”, a Dave Holland-like number in seven, offering shifting moods for the soloists—in this case tenorist Mark O’Connor, pianist Chris Pitts, and a conjoint operation by baritonist Evan Drybread and trumpeter Kent Hickey. It concludes with a beautiful solo piano section.

For Imboden, the transformative experience of opening himself to new scenarios yields productive results, as carefully selected elements overlap and intersect to form colorful patterns. This is a solid big band jazz release that confirms Imboden as an interesting composer to follow.

Favorite Tracks:
01 - Fire Spirit ► 03 - Certified Organic ► 05 - Portal Passage

Finn Wiest Quintet - Aurora

Label: Self released, 2025

Personnel - Julius Van Rhee: alto saxophone; Victor Fox: tenor saxophone; Leandro Irarragorri: piano; Calvin Lennig: bass; Finn Wiest: drums.

By listening to Aurora, the debut album by Finn Wiest, a German-born, Brooklyn-based young drummer, one immediately sense that he and his band are unafraid to take risks. The album features one composition by each member of Wiest’s working quintet, which includes saxophonists Julius Van Rhee and Victor Fox, pianist Leandro Irarragorri, and bassist Calvin Lennig.

The predominant contemporary vibes and urban feel are promptly felt in Lennig’s “Old Kid”, which opens the album with soulful, horn-driven intensity. The piece is masterfully crafted with a magnetic rhythmic drive, well-placed accents, creative melodic expression, and absorbing solos by Van Rhee and Fox. Irarragori’s “Aurora” exhibits a natural flow and relaxed confidence, even with odd meter and shifting cadences. 

Wiest’s “Waltz” remains constantly in motion, offering an ear-pleasing journey elevated by Irarragorri’s imaginative harmonic construction while comping his own solo. The group digs in with enthusiasm on Fox’s “Giga”, performed with intense focus while following an eager melodic trajectory. It’s an uptempo burner adorned with interesting intervallic leaps and colored with avant-garde abstraction, yet it never relinquishes its kinetic zest for long.

The album closes with Van Rhee’s “Zu Viel”, a structurally perceptive and thematically persuasive piece that adopts a pronounced Latin tinge after a tenor sax solo marked by motivic sensibility.

Though short on tracks, Aurora is an album (or should we call it an EP?) where nothing unfolds predictably — and I mean that in the best possible way. We can only hope Wiest has more in the pipeline for his sophomore album as a leader.

Favorite Tracks:
01 - Old Kid ► 04 - Giga ► 05 - Zu Viel

Joshua Redman - Words Fall Short

Label: Blue Note Records, 2025

Personnel - Joshua Redman: tenor and soprano saxophones; Paul Cornish: piano; Philip Norris: bass; Nazir Ebo: drums // Guests: Melissa Aldana: tenor saxophone (#2); Skylar Tang: trumpet (#5); Gabrielle Cavassa: vocals (#8).

Charismatic saxophonist and composer Joshua Redman assembles a new rhythm section of young players for his latest quartet outing, Words Fall Short, following his vocali-infused album Where Are We (2023). Superior to Redman’s previous effort, the album comprises eight carefully curated pieces, three of which are elevated by influential guest appearances. 

“A Message to Unsend” has a delicate essence, shaped by pianist Paul Cornish’ arpeggiated style, consonant articulations by Redman and bassist Philip Norris, and the sensitive drumming of Nazir Ego. There’s something classical, even bolero-infused in the works, and the music flows with hymn-like, breezy tones, showcasing solos from Cornish and Redman, which unfold over a cultivated musical terrain. 

Several pieces were composed during the pandemic, evoking a mood of sadness and melancholy—most evident on the album’s closer, “Era’s End”, a piece built with a slow, sustained drama, featuring Gabrielle Cavassa’s warm voice and a finely brushed drum texture.

“So it Goes” is a standout, featuring saxophonist Melissa Aldana in spirited dialogue with Redman. The piece is marked by zealous interactive dynamics and rapturous improvisations, standing above the rest. Yet “Icarus”, with trumpeter Skylar Tang as a guest, is also remarkable. An odd-metered piano riff is maintained against a steady beat, while the jubilant melody hovers over an infectious rhythm, anchored by a robust harmonic arrangement. Naturally, we witness a fiery exchange between the horn players.

Both the title track, “Words Fall Short”, and the soulful ballad “Borrowed Eyes” exude a soaring, skipping-through-clouds feel. The former, with Redman on soprano, flows in triple meter after an explanatory bass intro. The latter, melodically framed by tenor saxophone, is crisply supported by a brush-driven backbeat.

Redman returns to soprano on “She Knows”, assuming the lead role as he explores the full range of his instrument. The composition begins with a stealthy, methodical lyricism but unexpectedly veers into the avant-garde realm of jazz, gradually intensifying its chops over time.

The music on Words Fall Short doesn’t take long to get under your skin. Picking up where he left off, Redman elevates the material with a sharp, intuitive band that, built to last, demonstrates remarkable artistic maturity while faithfully serving the vision of its leader.

Favorite Tracks:
02 - So It Goes ► 05 - Icarus ► 07 - She Knows

Michael Dease - City Life

Label: Origin Records, 2025

Personnel - Michael Dease: trombone; Linda May Han Oh: bass; Jeff ‘Tain’ Watts: drums; Brooklyn Dease (disc1: #1,4); Nicole Glover: tenor saxophone (disc 2); Geoffrey Keezer: piano (disc 2); Jared Beckstead-Craan: bass (disc2: #4,6).

If you’re in the mood for consummate straight-ahead jazz that flows as crisp as a mountain stream, then trombonist Michael Dease’s City Life will certainly satisfy. Dease, a Michigan native, pays tribute to fellow Michigander Gregg Hill, a gifted composer whose work has also been interpreted by bassists Rodney Whitaker and Dave Sharp. City Life is a double album, with the first disc spotlighting a core trio—bassist Linda May Han Oh and multifaceted drummer Jeff ‘Tain’ Watts, recording together for the first time— and the second disc expanding into a quintet with saxophonist Nicole Glover and pianist Geoffrey Keezer. The set also includes covers of tunes by J.J. Johnson, Sharel Cassity, Greg Tardy, and Emily Remler.

It is important to note that there’s plenty of bounce and energy throughout. Disc one opens with “Willow Walks In”, a 12-bar blues rendered with a prominently groovy feel. “City Life” bustles with swinging vivacity before Dease and Oh trade fours with Watts. “Movie Theme” features the sweet voice of Dease’s young daughter, Brooklyn, alongside a nice trombone solo. Sharel Cassity’s “Say Whaaat” is delivered with jaunty lilt and upbeat spirit, while JJ Johnson’s swoony tune “Sweet Georgia Gillespie” turns into a hard-swinging romp, magnified by melodically inventive improvisations from the trio. My favorite piece, however, is “Danger Zone”, which features harmonious synchronicity between trombone and bass, propelled by Watts’ thrilling groove.

Disc two is even more colorful, offering streamlined dynamics without sacrificing grit. It opens with two excellent Hill compositions, “Tea Time” and “The Classic II”, both exuding refined harmonic appeal and vibrant soloing. Dease and Glover form a lively frontline, exchanging fours with Watts on the breakneck-paced “Skittles”. The album concludes with Hill’s “Lafayette Square”, but not before another rendition of a JJ Johnson’s piece - the tenderly brushed ballad “Enigma”.

This is an undeniably strong record, a confident embrace of jazz tradition that finds Dease at the top of his game, joined by deeply seasoned musical partners.

Favorite Tracks:
03 (CD1) - Danger Zone ► 04 (CD1) - Movie Theme ► 01 (CD2) - Tea Time ► 02 (CD2) - The Classic II